Camera Obscura

Papers
(The median citation count of Camera Obscura is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-03-01 to 2024-03-01.)
ArticleCitations
A Manifesto for the Broken Machine35
Not New to This: A Genealogical Approach to Black Girls’ Media Production9
Promoting the Image of Gender Equality in Swedish Film as the 2020 Deadline Expires2
Queer Film Settings as Sites of Resistance2
Agnès Varda: Photography and Early Creative Process2
Rewitched: Retextuality and the Queering of Bewitched2
Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival2
Daughter of Saul, or Saul Leanya: The Gendered Place of Atrocity in László Nemes's Son of Saul1
Intimate Connections1
She Listened: Vardian Self-Portraiture and Auto-Refrains of Sea, Wind, and Sand1
Varda's Third Life1
Thinking Travesti Tears: Reading Loxoro1
Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations1
Ephemeral/Material0
“The very palpitation of life!”: “The Leaves Are Stirring” in Context0
From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram0
Ethical Whiteness and the Death Drive0
Introduction: Late Hammer0
“Sometimes It Seems You’re in Another World”0
Chantal Akerman and the Cinéfille0
“A More Personal Look at Her Life”: Family Narrative, Gender, and Transnational Memories in The Girl and the Picture0
Interview with Florrie Burke0
House Body House0
Carolee Schneemann's Sonic Shadow0
Bodies in Water: Disability Cinemas and Creatures of the Sea0
Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)0
Framing Black Performance0
Their Bodies, Their Selves: Reflexivity and Embodiment in 2010s Women's Autobiographical Author-Performer TV Dramedies0
Introduction: Future Varda0
Sharon Lockhart's Philosophy of the Casual: Toward an Eco-Cinema of Sociability0
Epistemology of the Answering Machine0
Gendered Genocide0
Introduction: Carolee Schneemann (1939–2019)0
Lock Them Up: The Cold Conservatism of Ang Lee's The Ice Storm0
Self-Suspension in Frames: Hito Steyerl's Lovely Andrea0
Appear to Disappear: Blackness, Affect, and the Political Imaginary0
Agnès Varda, Jane Birkin, and Kung-fu Master!0
Schneemann Sounding: Embodied Sonic Systems0
On Carolee0
Looking Back, Moving Forward0
How Pictures Make Bodies and Bodies Make Pictures0
Conjuring Barbara0
Symmetry, Violence, and The Handmaiden's Queer Colonial Intimacies0
Making Space0
Green's Clues, or What's Queer about Clue?0
Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s0
Gift or Weapon? Reproductive Decision, the Phenomenology of Pregnancy, and Alien Language in Denis Villeneuve's Arrival0
Breaking at the Edges: Carolee Schneemann's Desires for Dance0
“I’m Washing My Dishes and Making a Movie”0
The Auto-Tuned Self: Modulating Voice and Gender in Digital Media Ecologies0
Agnès Varda, Producer0
Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann0
Masturbatory Ecologies0
Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines0
The Leaves Are Stirring (1948)0
A Feminist Still0
Nonmaterial Overelaboration: Gender, Casting, and Camouflaged Labor in Pat Rocco's Promotional Travelogue0
When Are You Going to Catch Up with Me?0
Appropriate Feminisms: Ambivalence and Citational Practice in Appropriate Behavior0
“Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville0
The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 20490
Looking for Something New: Antonioni's La notte and Specters of Femininity0
Archiving Feeling in Yvonne Rainer's Journeys from Berlin/19710
Cinema, Taliban, and Being a Woman in Today's Afghanistan: An Interview with Sahraa Karimi0
Tumbling Backward: Scrolling, Temporality, and One Direction Fan Narratives on Tumblr0
Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture0
Carolee Schneemann (1939–2019): Portfolio0
Viola Liuzzo / Heather Heyer: Mediating the Antiracist White Female Martyr0
Wages for Face-Work0
From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative0
American as Apple Pie0
The Unicorn and the Larva0
Damsels Who Distress0
Horror Cities0
Calculating Couples: Computing Intimacy and 1980s Romance Software0
Reading Border through Desire: Queer Indigenous Theory, Nordic Settler Colonialism, and Trans Aesthetics0
Her Body, Her Choice: Tough Girl Affect, Trump Support, and the 2020 Pandemic0
Floating Roots: Agnès Varda's Uncle Yanco0
Incestuous Wanderlust: 35 Shots of Rum's Atmospheres of Circulation0
The Reserve Army of Affectivity: Unemployed Labor in William Greaves's Psychodramatic Cinéma Vérité0
Passion, Commitment, Compassion: Les Justes au Panthéon by Agnès Varda0
“All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films0
Barbara Hammer and Queer|Art: Granting for the Future0
Hammertime!0
“Virtual Varda”: Sustainable Legacies, Digital Communities, and Scholarly Postcards0
Toward a Feminist Fourth Cinema: Waru (2017)0
Thoughts on Making Films with Barbara Hammer0
Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet0
Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain0
The Documentaries of Barbara Hammer: Lesbian Creativity, Kinship, and Erotic Pleasure in the Historical Margins0
Editorial Office Workers’ Statement Regarding the UC System-Wide Strike0
What's Your Color? Mood Conditioning the Postwar Domestic Interior0
Art on Film at Finch College: Reproductive Labor in the Enrichment Economy0
Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist0
Continuous Weave: Feminist Experimental Filmmaking Genealogies0
India's Daughter: It Is Time to Retire the Realist Rape Documentary0
A Problem of Fit: Athina Rachel Tsangari and Greek “Weird Wave” Cinema0
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